In the wake of documentaries on Britney Spears, Lorena Bobbitt, and other victims of a crueler, “more misogynistic” press machine, the hook to these projects is a prodding at both individual and collective memory. They claim to be recontextualizations, revisions, and rehabilitations, while they are still fundamentally pieced together as amalgamations of fame and identity, with the involvement of the subject or not.